OUGD405 - DR. ME

DR. ME is a creative studio based in Manchester and The French Riviera, and is made up of two graphic designers/creatives, Ryan Doyle and Mark Edwards.
Their talk was insightful into the way in which they work, including their design processes, as well as some of their influences for much of their work.

Influences include Neasdon Control Centre and Mike Perry, with whom they worked with for 2 months as students.

One of their first projects together was to produce a record sleeve for Dutch Uncles, an English pop band and their album Cadenza. The design for this album consisted of a hand-cut, contemporary collage, and this fed into most of their future projects. Not only did this project develop their own unique style of work, but it also inspired them to create more visuals for music, taking opportunity from local venues and musical friends. DR. ME suggest this for many new graphic designers, as it gives you freedom to experiment and helps to start getting your name out in the industry, even if it only starts off small and locally.

365 Days of Collage
This was a project that came about from their love of found imagery. They wanted to produce a piece of collage every day for a year, which could be affordable pieces of artwork. The size and price of these collages were dictated by the least you could pay for a large envelope.
As a follow-up to this, they produced a book titled 'Cut That Out', which is all based around contemporary collage within graphic design - their own work, as well as the work of other designers who use a similar style.

The main pieces of advice I gained from this talk was to:

1. embrace collaboration
   - different people can offer different skills and knowledge.
2. make your own trends
   - do not follow trends, make your own and be yourself, everyone has a unique sense of style, work with your own imagery.
3. do not be afraid to ask
   - send out mail, let people know how you are and what you can offer, give them constant reminders.

OUGD404 - Studio Brief 01 - The Use of Colour in Graphic Design

The use of colour within Graphic Design is a very subjective matter, as it's uses and meanings can be dependent on both social and cultural backgrounds, as well as personal preference. For example, in China, the colour red is symbolic of happiness and prosperity, whereas in South Africa the same colour is associated with the act of mourning.

Colour is said to be the most influential aspect of design, based on the functionality of our senses. For this reason, it is important within branding that the use of colour is well thought-out and effective to have an accurate representation of a specific brand. According to research, the use of colour can increase brand recognition by up to 80%, showing how colour influences our views of brand identity.

In Josef Albers' publication, 'The Interaction of Colour', it is suggested that when two colours use the same value they can be seen to 'vibrate'. This effect is produced because we see more value of a colour than its hue, which makes it uncomfortable for the eye to look at. This idea is also an important consideration within Graphic Design, especially typography. For type to be legible, there must be a sufficient tonal contrast between coloured type and a coloured background. Otherwise this vibration effect may be produced, making it hard to look at and read. Within colour theory, this effect is known as a simultaneous contrast and was identified by Swiss expressionist painter and designer, Johannes Itten. This contrast can be seen particularly when the colours red and green are used together. Other contrasts identified by Itten are: contrast of saturation, contrast of light and dark, contrast of extension, contrast of complements, simultaneous contrast, contrast of hue, contrast of primary hues and contrast of warm and cool, which act as ways to coordinate colours according to their hue and contrasting properties.

The contrast of saturation is produced through the juxtaposition of light and dark colour values and their relative saturation. The contrast of extension, also known as the contrast of proportion, is produced through the use of proportional field sizes in comparison to the visual 'weight' of a particular colour. Contrast of light and dark is also formed through juxtaposition, this time of a colours light and dark values. For example, a monochromatic composition. Similarly, the contrast of warm and cool is produced through the juxtaposition of hues that are considered both warm and cool. The contrast of compliments is formed when using opposites on a colour wheel, whilst the contrast of primary hue is formed when using primary hues. For example, red, blue and yellow. Lastly, the contrast of hue is produced when there is a large distance between hues on a colour wheel to create a larger contrast. Again, these contrasts can be greatly influential within graphic design and typography, as they can establish object recognition, enhance the meaning of your work, convey structure, establish identity and even help in the speed of visual communication and search. For example, in Massimo Vignelli's 1972 design for the New York Subway's wayfinding system, a different colour represented each line to aid with this idea of visual search. The same idea can be seen in the London Underground System and reiterates the importance of colour in representation, as it is commonly known that, for instance, the colour yellow represents the Circle Line.

In conclusion, colour can be considered as the most important aspect within all Graphic Design. It can be extremely effective when used correctly and appropriately, however when used with no thought behind, it can also have a disastrous effect and convey the opposite of that intended, ultimately producing a misrepresentation of your brand, for instance. But, as stated at the beginning, colour is subjective and as Josef Albers stated, "anyone who predicts the effect of colours proves that he has no experience with colour.

OUGD404 - Studio Brief 01 - CMYK vs. RGB

CMYK is a subtractive colour model used within colour printing as well as a term used to describe the printing process itself. CMYK refers to the four different inks used in this model of printing - cyan, magenta, yellow and black. The 'K' stands for 'key' in that the cyan, magenta and yellow printing plates are aligned with the black key plate, as well as the fact that black is the colour typically printed first. This colour model works by masking colours on a lighter background - ordinarily white - which is what makes the process subtractive in that the inks reduce brightness from the white.

The RGB colour model, on the other hand, is an addictive model of colour whereby red, green and blue light are added together in numerous ways to reproduce a wide range of colours. RGB refers to the initials of the three primary colours used in this model - red, blue and green. Its main purpose and function is for representing and displaying images within electronic systems, for example computers and televisions.

OUGD404 - Studio Brief 01 - Josef Albers' Use of Colour

Josef Albers was a German-American artist and educator, best known for his disciplined approach to composition. His series 'Homage to the Square' began in 1949 in which he explored chromatic interactions of colour enclosed within squares. Each painting in this series consists of three or four separate squares of solid colour settled within one another in various arrangements, with the squares slightly gravitating towards the bottom edge. Albers described works in this series as all having different climates, by which he meant different colour palettes. His choice of colours are aimed to cause interaction. In using a symmetrical order of squares, these separate and interact in various different ways.

Albers believed that in our visual perception, a colour is rarely ever seen as it physically is, which makes it the most relative medium used in art. Therefore it should be understood that one individual colour can evoke numerous meanings and suggestions. In his work, Albers showed how distinct colour effects can be created through the interaction of colour, for example by making two different colours look similar. This is known as 'The Relativity of Colour'. In this approach to colour, Albers disregarded the standard approach of theory and practice by putting emphasis on feeling the relationships between colour rather than just simply seeing the colour as it is. In doing so, he puts his practice before theory, suggesting a new way to study colour, not a new theory.
In addition to this, Albers showed that when two colours use the same value they can be seen to 'vibrate'. This effect is produced because we see more value of a colour than it's hue which is uncomfortable for the eye to look at.

OUGD404 - Studio Brief 01 - Examples of Klein Blue in Graphic Design

Fig 1. Addrn, designed by Appelle Moi Papa from France in 2016. This piece
of design is a recast of the identity and graphic carter of a planning agency.

Fig 2. Promotional poster for the Mer/Sea Collective, designed in 2014 by
Michael Mason from Canada. The project was called Fruits & Animals, and
the design aims to show the duality of the terms mer and sea by functioning
as an anigram.

Fig 3. Basement Theatre, designed by Studio Alexander from New Zealand in
2015. Basement Theatre is an independent, underground community theatre
based in Auckland, as a space to showcase new talents, voices and perspectives.

Fig 4. Bonus Stage no. 9 was designed by Jimbo
Barbu, Studio Jimbo, am independent graphic designer
and art director based in Paris.

Fig 5. Poster designed for the identity of HAY, a Danish
design brand, which embraces collaboration with
designers from all over the world. It was designed by
Andrea Eedes from Denmark in 2014, and aims to show
the concept of identity as well as using collaboration to
show how this can enhance design.

Fig 6. Renards Urbains is a poster for the
event, La Fourrure du Samedi and the
release of the website www.renardsurbains.fr.
Designed by Tom Segur.

OUGD404 - Studio Brief 01 - Klein Blue

International Klein Blue (IKB) is a deep blue hue mixed and produced by French artist, Yves Klein in 1960. Klein Blue comes from the matte, synthetic resin binder of the colour Ultramarine, known as polyvinyl acetate, in which the colour is suspended. This allows the pigment to maintain its original brightness and intensity of colour.

Klein assigned a specific role to the colour blue, which for him represented abstract elements of nature, such as the sky and the sea. Later on in his career, he extensively used this colour within his work, such as in his monochromatic works which used IKB as the central theme and thus the colour itself became the artwork. This included performance pieces that involved painting naked bodies and directing them to use their bodies as "a living paintbrush", which aimed to record the body's physical energy. Klein compared these paintings to an "open window to freedom" and suggested IKB as a way of revealing the immateriality of his own utopian vision of the world. There are almost 200 works in his monochrome series and were all numbered by his wide Rotraut Klein-Moquay from IKB 1 to IKB 194, which do not represent a chronological order.

Another source of inspiration for Klein came from Eastern religion. His works have said to reflect his own religion, being Catholicism, as a symbol for the Holy Ghost and of Virgin Mary's robes depicted in traditional renaissance paintings. For this reason, Klein has been compared to the likes of Joseph Beuys who was also influenced by elements of romanticism and mysticism.

Yves Klein, Anthropometries, 1960-61.

OUGD404 - Studio Brief 01 - Pantone

Pantone is a company founded by Lawrence Herbert and is best known for its Pantone Matching System (PMS), a colour reproduction system, which is used in a large number and variety of industries, such as printing and in the manufacture of coloured paint and fabrics. The system uses standardised colours which industries and manufacturers can refer to to help with the accurate identification of colour.

Pantone has 1,114 spot colours. Many of these colours cannot be reproduced using CMYK, but instead use 13 base pigments that are mixed in specific amounts. Despite this, Pantone also has a small subset of colours that are possible to produce using CMYK and a system which allows metallic and fluorescents to be produced too. These Pantone colours are distinguishable by its number and suffix. The number stands for the colour itself, whilst the suffix represents the media or stick type which will affect how the ink is formulated to produce a specific colour.

Pantone Colour of the Year 2017 - Greenery 15-0343, described as a
"refreshing and revitalizing shade, Greenery is symbolic of new beginnings".
Past colours of the year have included Rose Quartz and Serenity (2016),
Marsala (2015), Radiant Orchid (2014) and Emerald (2013).

Thoughts on Objectivity and Subjectivity in Graphic Design

Is design objective or subjective?

The debate between two influential designers Wim Crouwel and Jan Van Toorn is one of the most famous debates on objectivity and subjectivity in Graphic Design. The debate focuses on three main areas: the social and professional role of the designer, the value of grids and typographic tradition, and the function of the graphic designer when designing for museums and art galleries.
Crouwel favours an objective approach, representing the ideal of the designer as a 'selfless messenger', whilst Van Toorn favours a subjective approach to design and supports the notion of the designer as an interventionist, in favour of criticism and intervention.

The use of grids is a fundamental element in Crouwel's practice as a graphic designer. This makes use of an analytical approach, which is said to result in strong appeals to current opinions in social and cultural topics that can have powerful communicative effects. He believes that grids benefit from clarity and transparency of such information.
German graphic designer and typographer, Otl Aicher supports a similar objective approach to Crouwel in the use of grids. His work for the 1972 Munich Olympics uses a strict and precise structure in the form of a 45 degree grid which Aicher developed specifically for pictograms to represent these Olympic games. This helped to create an objective and universal language for every country taking part in the games.

On the other hand, Van Toorn rejects this use of grids, suggesting that this means "the country is inundated by waves of trademarks and house styles and everything looks the same". For this reason, he believed that the use of the grid does not serve any purpose in communication.

Designer, Paul Mijksenaar supports Van Toorn's idea of subjectivity in design. He believes that "airports in English speaking countries should only use English in their sign systems and never a second language as to not patronise the traveller who doesn't speak English". His view on multilingual signs is therefore not based on the functionality of the sign system itself, but his own subjective viewpoint.
Experimental Jetset agree with this view in that elements of a subjective nature that go beyond the idea of functionality should also be considered within design, such as aesthetics and conceptual elements.

However, Van Toorn does agree that grids can sometimes be highly effective in communication, but this should not be used as the only approach towards such design. Likewise, Experimental Jetset believe that "most sign systems have the appearance of an objective, functional construction, but under the surface can have many subjective motives".
Bruno Munari also suggests that when signs are used in fields, such as music and visual poetry, these can be more expressive of ourselves (subjectivity). Although, many signs must remain objective, such as road signs, in that we have been conditioned to know what they mean objectively and if not followed these can have serious consequences.

In conclusion, there are many arguments to suggest that Graphic Design can be both subjective and objective. In my opinion, Graphic Design is not either or, but a mixture of both objective and subjective elements. In this sense, I agree with Bruno Munari's approach to design, in suggesting that signs in specific fields can be considered as subjective. For example, tramp signs which can only be understood by those of that same group to warn or let others know of certain situations. However, signs such as road traffic signs must remain objective and universal, as the same signs are taught around the world and if these are disobeyed they could cause some serious accidents on the road. In the words of Van Toorn "grids can sometimes be highly effective for conveying a message, but you should not promote their use as the only way of design". Designers, such as David Carson disobeyed such rules of the grid, however as a result, produced some effective pieces of design. Although, this in itself could be debatable, as many have varying opinions about Carson's work.

OUGD405 - Study Task 01 - Research Video

https://vimeo.com/192773990

Our video aimed to record how members of the public move through and interact with a public space through the medium of video. One of our interventions involved placing blue arrows pointing to two cash machines and leaving one without. We aimed to see if this would make the public pause or stop so to only use the two machines that involve the arrows. Only using the arrow heads meant these symbols largely resembled triangles, which are typically used in road signs to suggest 'to wait'. This worked in some instances, for example, the video stills in figs. 1 and 2 below show one woman waiting in line to use the next available cash machine, not realising that the third is perfectly well to use. Eventually she realises and moves over. Despite this specific interaction, people largely paid no attention to the arrows.

Fig. 1. Aim one: make someone pause or stop.

Fig. 2. Aim one: make someone pause or stop.

Another of our interventions involved the use of two yellow squares placed towards the opposite walls of an underpass. The aim of this intervention was to block off these two areas of the path to create a narrow pathway between the two in the hope that this would create a new connection. This connection would be that where people are avoiding the blocked areas of path, they would be forced into the smaller pathway which would therefore force conversations between strangers who are trying to get past at the same time. This would show a new interaction or connection between members of the public created as a result of our sign system.
Unfortunately, we did not witness a large enough group of people passing by for this to be effective. However, individual members of the public still interacted with this system by swerving slightly to avoid walking through the squares, shown in fig. 4. I feel this would have been more effective had there been a large enough group of people passing through and if the squares were closer together to create an even narrower path that would have only allowed a single person through at one time. These squares also needed a sign to support them which may have suggested those areas are out of bounds.

Fig. 3. Aim two: create a new connection.

Fig. 4. Aim two: create a new connection.

The last of our interventions involved the use of a red square with a cross through the middle. The square as a symbol is boundaried which shows intention and gives the feeling of a floor or protection, in this sense used to suggest there is something needing to be done in this area. In doing so, we hoped this would create a diversion, with people changing their course of direction so to avoid walking over it. This turned out to be the most unsuccessful of all three interventions with people paying virtually no attention to the symbol. A select few noticed the intervention, however reacted in the opposite way to which we intended by walking directly over the square as if they are more drawn towards it rather than towards avoiding it.

Fig. 5. Aim three: create a diversion.

Fig. 6. Aim three: create a diversion.

OUGD405 - Conventional Sign Systems

Pictograms
These are used to warn, guide or protect, and so must be immediately decipherable in such a way that they cannot be misunderstood. This means that pictograms must be independent of culture so to be a global language of communication.

Lance Wyman's Mexico City Metro Signs - Example of using
pictograms to provide a global signage system.

Semiotics
The sign and it's meaning is dependent on context, knowledge, society and culture.

Syntactics
These are formal, unambiguous and succinct. Elements include form, brightness, colour, movement, material, scale, position and shape.

Pragmatics
This is how context contributes to the meaning of a sign. These come in three categories: indicative, imperative and suggestive. Indicative means that it is up to the receiver what they do with the information communicated from a particular sign. Imperative means that the receiver must not do something, even if they want to and vice versa. Suggestive means that it is advised you not do something, but it is not imperative to do so.

Basic Signs
The Square
It is a symbolic object which has a boundaried property, such as the feeling of a floor, ceiling, walls and protection. When the square is tilted to form oblique lines, this indicates intention. For example. traffic signs in the United States.

The Triangle
Symmetrical symbols. This makes them useful for signals, such as road signs. The symbol suggests 'to wait'.

The Circle
It is suggested that we appreciate rounded forms better with the senses rather than with the mind. Feelings are addressed more strongly in terms of a circle, as it's enclosure can be seen as disquieting and claustrophobic.

The Arrow
Suggests movement or direction. It is suggested that we react more to arrows pointing left and right, rather than those pointing up and down, as these suggest a stronger sense of movement.

OUGD405 - Study Task 01 - Ideas Brainstorm

The image below shows some of our initial ideas in regards to the first study task for studio brief 01, whereby we must create a short video which shows how members of the public move through and interact with a public space. Our own sign system must be used and should aim to create a diversion, make someone pause or stop and create a connection. Our system must only use abstract graphic language and forms, no text.

OUGD405 - Jo Blaker

Jo Blaker studied graphic design and advertising at Leeds College of Art before progressing on to an MA at the Royal College of Art. She does not put labels on herself, therefore her work consists of both illustrative and graphic elements, whilst other pieces of work can be seen as using elements of fine art in her practice. Her practice is mainly sketchbook based and this is what her talk focused on. Jo's inspiration for projects comes from the collecting and gathering of resources, particularly using images that relate to colour, line, materials/texture, and form. Much of her work is based on organic and natural forms in particular, for example looking at the changing form of seaweed when the sea washes it up and back in again. She relates this to a style of writing called 'nature writings' whereby people tell stories which show a connection with nature, such as through travelling. Jo uses these drawings as a different form of thinking and this is what forms the basis of her sketchbook work, trying to think through different ideas in a visual way.
This talk really motivated me to draw and inspired me to utilise my sketchbook more throughout my projects, including my own self-directed work. It taught me not to worry whether or not such work is 'good' or related to a current project, but to just document things that inspire you anyway because you never know when it may come in use. It also allows you to visually work through and develop ideas which could potentially have a big impact on an end product as well as your overall creative practice.

OUGD403 - End of Module Evaluation

Since our research trip to Yorkshire Sculpture Park and The Hepworth Gallery, I have learnt a great amount about typography, how it can be developed and used. This trip was a starting point for my learning into typography, allowing me to realise the possibilities of type in that it doesn’t only have to be two-dimensional. It opened my eyes to the ways in which type can be used within three-dimensional sculptures and now can easily spot letterforms within such pieces of work. This will also better inform my work in future projects, whereby my methods of experimentation will vary between 2D and 3D, such as creating paper structures, which could provide some interesting ideas.

Another thing I have gained from this module is a better understanding of typographic terminology. This has allowed me to engage with my learning and work more, particularly in studio brief two where an understanding of typographic terms was essential in helping to create our own bespoke typeface. It also allows me to explain my ideas clearly in a more professional and informed way, and to pick out distinctive elements of letterforms if ever working with typography again in the future. For instance, how these elements made a typeface more characterful and fit for specific purposes. Kerning is one of these elements used in typography which I had not learnt about until starting this module. The kerndown task allowed me to see how altering the spacing between letterforms can better represent a particular brand or company.

Throughout this module I believe that my digital skills have also improved, through workshops and my own guided learning within a brief. Illustrator was a piece of software I had never worked with before until starting this course. I now have a basic understanding of how to create vector images, and in particular, using the pen tool, which was very beneficial in producing both my logotypes and my own typeface.

Research and further reading is another thing that has informed a lot of my work throughout this module. Research into Josef Muller-Brockmann’s and Massimo Vignelli’s classic typefaces has shown me what they believe classifies as a strong typeface and I have used some of these ideas within my work. For example, my bespoke typeface aimed to go against Muller-Brockmann’s belief that “what is feeble is never good” in terms of typography. I have also realised that general research for a project does not always have to be obvious, sometimes the less obvious routes are the best and looking at something which contrasts with your initial ideas makes for more interesting and developed final outcomes. For example, in the ligatures task, it was too easy to take an obvious approach to the task in keeping with original letterforms, but research into the ampersand showed that the ligature no longer looks like an e and t (‘et’ was the Latin word for ‘and’), and yet we still know what this symbol communicates. 

Overall, this module has been both challenging and engaging. I have learnt many new skills which will help with my progression through the course and the development of my work, and I hope that these will continue to develop. All these skills will not only help in the progression of my course, but will also help me after my degree in the hope of becoming a professional designer. And in conclusion, the module has taught me that if you’re not challenged, you won’t get any better as a designer.

OUGD403 - Studio Brief 02 - Final Crit Evaluation

Initially, I thought that my typeface resembled an old typewriter font due to some strokes breaking up when the font is enlarged a certain amount because of the extremely thin weights used. I felt that this would therefore be appropriate for use in newspaper publications in relation to this typewriter effect. The high contrast between different weights highlights this point, as it could almost resemble the unevenness of ink on paper as sentences are being typed on a typewriter or the grainy effect you typically get in newspaper publications. This was agreed on during summative feedback with some comments suggesting the typeface would be suitable for headings in publications or as a display font.
However, it was also suggested that the use of sharp serifs on some letterforms, such as T, L and E make the typeface look quite scary and more suited towards horror film titles.
Despite this, my design decisions and intentions were mostly understood, and it was felt that my typeface generally communicated the idea of flimsiness well due to the visible differences in stroke weights and its lightweight feel which is emphasised through the use of serifs. Others believed that the word ‘flimsy’ did not spring to mind immediately on first viewing my typeface and is more suited to the word ‘fragile’. The word fragile is a synonym of flimsy, which is what I focused on more than the chosen word itself, as I felt 'flimsy' was quite a generic word and that I gained more in terms of research and ideas when looking at it’s synonyms. This is therefore why my typeface can be considered more reflective of other such words, but this is what I also wanted to communicate in my work so in this sense I feel that my typeface has worked.

It was also suggested that the paper-thin look of my typeface gives it a sense of elegance and of being a delicate material, which contrasts to the suggestion of the typeface as being quite eerie.

In my design, I kept the strokes fairly straight and structured as to not abstract the letterforms too much, however in terms of relating this to the word ‘flimsy’ it can be seen as almost too structured. As a development, it may have been interesting to experiment with alternative methods of manipulating the letterforms, such as moving the image whilst being scanned to visually communicate a ‘wobbly’ and unstable effect which may have better communicated my chosen adjective.

My final typeface has changed a large amount from my initial rationale and ideas for my desired typographic style. I originally intended to fold letterforms as if they were made of thin material, like a flimsy piece of paper or to completely break apart letterforms. This is not so evident in my final design, but uses similar elements which link back to this idea of being a lightweight material as some of these ideas still formed part of my development work. Overall, I feel that my final typeface correctly communicates the word 'flimsy' but if I were to continue developing it I would try to reduce the 'scary' elements and experiment more with manipulating the letterforms through various different processes to break up the type even more. And in terms of my aim in creating a typeface which goes against Muller-Brockmann's belief that "what is feeble is never good" I feel as though my work has reflected this in that Caslon no longer has a strong, solid structure in which to balance on.

OUGD403 - Studio Brief 02 - Type Specimen Poster

To showcase my bespoke typeface, I decided to produce a type specimen poster. I kept this poster quite minimal due to the thinness of strokes, as I did not want them to get lost amongst anything else. The use of colour reflects the desired purpose of my typeface as being used in newspapers and other similar publications, which are typically greyscale and also quite minimal. Also in response to the potential purpose of Caslon Slimline, I transferred the same information from my poster into a newspaper layout to see how well it would work in terms of this purpose. Based on this, I feel that it works well for use in newspaper and publication headings.
However, due to the extreme thinness of certain strokes, when exported, the letterforms break up again in response to this process, but as a result, shows how this typeface is seen as a flimsy and fragile one.

Fig. 1. Type Specimen Poster - Caslon Slimline.

Fig. 2. Type Specimen Poster - Newspaper Layout.

OUGD403 - Studio Brief 02 - Research: Type Specimen Posters

Fig. 1. Helvetica Bold.

Type specimens are used to display typefaces and can come in various forms, such as a poster or booklet. They often include a rationale of the typeface, which explains why the typeface was developed, it's applications and a description of some of it's defining characteristics.

Along with the research into newspaper layouts, in helping to produce my own type specimen I researched various specimen posters. Looking at these specimens showed me that it is important to create one which best communicates the personality of said typeface. For example, Fig. 1. shows a specimen for Helvetica Bold. This reflects the clean and neutral personality of the typeface through keeping the poster very minimal and structured.

All specimens also make use of the typeface itself to showcase it's qualities. This often includes large versions of particular letterforms, numbers or glyphs, with the information about these characteristics working around these.

The colour schemes of these two specimens in particular both relate to the purpose and functionality of my developed typeface in that they all use quite neutral, greyscale tones that are typically found within newspapers and other such publications. Elements such as these, I will take across to produce my own specimen that effectively communicates Caslon Slimline.

Fig. 2.

OUGD403 - Studio Brief 02 - Research: Newspaper Layouts

For help in producing my type specimen poster, I researched newspaper layouts so that the specimen would reflect the desired purpose for my typeface and in hope of better communicating my typeface whilst being in context.

From common knowledge I knew that newspapers were typically greyscale, with some elements of colour for specific images and articles. This will help me in choosing my colour scheme and design, keeping it quite minimal and a limited use of colour.
Through my research I typically found that the covers of newspapers all have quite a uniformed, structured layout, with a strong heading at the top, an image within the middle area of the page, and the related article towards the bottom. This article is traditionally laid out in small columns, therefore will take this into consideration when producing my specimen.

Based on the above images, I sketched out an idea for the layout of my type specimen, showing how the typeface can be used in context.

OUGD403 - Studio Brief 02 - Final Typeface Rationale

Caslon Slimline

Caslon Slimline is a slender, lightweight, serif typeface. It's origins come from William Caslon's 1720 typeface, Caslon, picking apart it's defining characteristics and manipulating them so that it no longer has it's original material strength. It's contrasting design and 'inky' feel make the typeface a suitable font for newspaper and publication headings or as a general display font, which is designed to break apart depending on it's scale, whilst the delicate nature of the typeface also gives it a sense of elegance.

OUGD403 - Studio Brief 02 - Final Typeface Design

For my final typeface, I decided to work with the idea of creating thinner strokes in replace of the thicker strokes used in Caslon, which would only be visible when blown up to a large enough scale.
Due to restrictions in creating my design, I was not able to make the new strokes thin enough to only be visible when large scale. These strokes had to be created at a minimum of 0.001 point weight, so although this was not my original intention, I continued to work with the design.

In producing the thinner strokes I has to create a way in which to attach these to the serifs, which were much larger in weight, so that they joined together well as one single letterform. This meant that I had to make the bracketed serifs a lot sharper and thinner, however this can be seen to enhance the idea of flimsiness and being of a thin material.

Although my initial idea did not work completely, there is a noticeable difference in the type when printed at large scale than small scale. Due to the extremely thin strokes used, these start to break up slightly the bigger they are printed which shows how something flimsy is fragile and can be easily damaged. The effect this gives is that of an old typewriter font, therefore could potentially be used as a font for newspapers and other such publications. At small scale, the high contrast between thick and thin strokes means there is an inky feel to the type. Printing this typeface onto newsprint, a very thin paper used in these publications, would therefore be quite effective.

I decided to name this typeface Caslon Slimline, meaning slender in design or build. Some of it’s defining characteristics are: sharp bracketed serifs, high contrasts between thick and thin strokes, large counters, particularly in letters O and Q. The J extends just below the baseline, whereas all other letterforms fit within the cap-height.

Fig. 1. Final Typeface Design - Caslon Slimline.

Fig. 2. Stage one of final typeface design - cutting out the thinner strokes.
This developed into my final typeface design shown in Fig. 1 (above).

OUGD403 - Interview with House Industries, Ken Barber

House Industries is a graphic design studio and digital type foundry, founded in 1993 by Andy Cruz and Rich Roat, originally starting off as Brand Design.
The studio specialises in hand lettering, which bares the same principles as layout design. For instance, Ken Barber suggests that in creating letterforms it needs to be considered how each letter relates to each other. You need to communicate a sense of balance and contrast, and understand the way in which elements relate to one another.
This relates to Massimo Vignelli's beliefs about the importance of the syntactical elements of a project (for example, type and sizes), as he also believed there must be an appropriate and balanced relationship between these elements, showing how they relate to one another.

Barber believes that to become a good letterer must have an understanding of type history. For instance, referencing existing typographic forms to produce your own hand-written forms, as this provides a foundation or underlying system of typography for which you can work from. Again, this can be considered to relate back Vignelli in his ideas of semantics, whereby he believed that you must research the history of a subject to better inform the nature and development of your work.

Along with these important elements of lettering, the main piece of advice I will take from this video is to be your own client. Provide yourself with self-directed projects in order to gain new skills and knowledge within design that, as a result, can help in the progression of your own work.

http://www.gestalten.tv/motion/house-industries

OUGD403 - Studio Brief 02 - Formative Crit

The main piece of feedback I gained from this formative crit session was that the idea of type being 'flimsy' reflected something hanging, such as a baby's mobile, as these generally use thin strings. Therefore, to research artists and designers who look at cutting and taking things away.
It was also suggested that I look at more 3-dimensional experimentation within my work to gain more of an informed idea of how thin materials move, fold and fall, such as a paper structure.

In response to this feedback, I searched for books and articles within the library that related to my chosen adjective or any of it's synonyms. This proved to be of not much help in forming any development of my work and ideas. Although, when looking at the word 'fragile' within art or design, ceramics was suggested. This could have been interesting to experiment with, moulding letterforms out of clay and then breaking them apart to see the effects this would have. However, I felt that the idea of breaking ceramic objects and letterforms related more to the word fragile and damaged, rather than the word flimsy, because in general clay is seen as quite a strong material if taken care of and has good structure to it. I therefore felt this would have been digressing too far away from my original intentions and original chosen adjective.

OUGD403 - Studio Brief 02 - Development Ideas

All my initial ideas made use of serif typefaces, in particular Caslon and Clarendon. Whilst it was regarded during feedback as a "too safe and obvious" route to take, I decided to work with a few initial ideas using these typefaces to see how they would inform my designs, rather then disregarding them before any experimentation.

Fig. 1. shows experimentation with cutting out the characteristics which make it a strong typeface and leaving behind the 'flimsy' characteristics attached to their serifs. The serifs had to be kept for this due to some letterforms looking too abstract and illegible. I used Caslon for this as the contrasts between thick and thin strokes meant that it was easier to pick the typeface apart. In lowercase, I took away the thinner strokes to make it stronger and got rid of he thicker strokes on uppercase to make it weaker, almost seeming to reverse their roles.

To develop this further I will experiment with adding even thinner strokes where I have cut some out. These will only be visible when blown up to a large enough scale, and become barely visible again when brought down in size, as if the type is falling apart. This could be used for display and branding purposes.

Fig. 1.

Fig. 2. Picking apart the thick and thin strokes, and shifting them so that the
type looks unstable, inadequate and almost clumsy.

Fig. 3 shows some initial idea sketches using Univers. In this I have kept either the top or bottom half of the letterforms constant, and then shifted the other half to one side to give it the effect of the letterforms falling over or falling back on themselves. I feel this idea works best when used in lowercase, and the top half of the letterforms are slanted and the bottom half is kept constant. When used in uppercase, the letterforms are too strong that the slant is still quite subtle and does not make much of an impact.

Fig. 3. 

Taking more inspiration from Fabian Fohrer's Sneak Type, I decided to reverse this sketch to see how this would affect the type (Fig. 2). Some letterforms became more top-heavy like in Sneak, whilst others changed letterforms completely. For example, a capital G turns into a lowercase e and a lowercase g turns into a double-storied a. Although this idea works for some characters, it does not work for all and is too similar to not only Fohrer's typeface, but also to the original typeface in use (Univers).

Fig. 4.

Fig. 6. continues to make use of Univers, however brings in elements of Caslon whereby there is more of a contrast between thick and thin strokes, which makes the 'flimsy' characteristics of the typeface stand out more against the stronger characteristics. This can be developed further through experimentation with changing the axis of the letterforms, which as a result will change how the character is weighted on each side.

Fig. 5.

Fig. 6.

Other type experimentation:

Fig. 7. Type cut off at the bottom. Some had to be cut less than others as
certain letterforms looked too similar when cut directly in half, eg.
L and I, O and Q, E and F.

Fig. 8. Cross strokes and tittles lowered on some letterforms. Others
have no changes at all - too similar. How can more be cut out of the
forms? Needs more defining characteristics. Does it reflect
flimsiness, being unstable?

OUGD403 - Studio Brief 02 - Research: Fabian Fohrer

Fabian Fohrer is a Graphic and Type Designer, and the co-founder of TIGHTYPE.

Sneak Typeface

Sneak is a crisp, sans-serif typeface, available in six different weights. The typeface features several reversed characters, such as B and S, which Fohrer describes himself as "a typographic bridge between order and disorder".

One aim of TIGHTYPE is to provide visually strong typefaces for people who value contemporary type design. I feel that Sneak type works well in this sense, as it is quite clean and contemporary, which could have multiple applications within use as a display type. The reversed characters mean that certain letterforms are more weighted at the top rather than at the bottom. This creates links with my own project in creating a 'flimsy' typeface, as some letterforms are more top-heavy meaning they could be seen as unstable (which was one of my initial ideas for studio brief 02). Other letterforms are quite narrow, such as M in Sneak Mono, which could reflect a thin, fragile material or structure. On consideration, this could also link to the sharp slants used in uppercase Caslon (a traditional serif-typeface), which makes the letterforms seem really narrow and as if they are toppling over.

However, Sneak type takes a sans-serif typeface and diminishes it's strong, stable characteristics in manipulating it's weights in some characters. I will continue to work with sans-serif typefaces, such as Univers and Helvetica within my own work, therefore initially contrasting with the idea of 'flimsiness' but developing it into a typeface which is much less stable and more fragile than originally intended. To help inform these ideas and the purpose of my developing typeface, I should consider how it would be used in context. For example, manipulating a strong typeface into a flimsy one, then using it in a way which solidifies the typeface again in an impactful context. Inspiration would come from how Sneak type has been used in Victoria Jung's Perspective Poster Series.

Fig. 1. Sneak Type, Fabian Fohrer (2016).

Fig. 2. Sneak Type, Fabian Fohrer (2016).

Fig. 3. Sneak Type in use - Victoria Jung's Perspective Poster Series.

OUGD403 - Studio Brief 02 - Group Task

The aim of this task was to help with the development of ideas for studio brief 02. In giving our chosen adjective and various synonyms to help with it's description, another class member was asked to create line drawings that communicate how they would describe that chosen adjective. This then went on to help form characteristics of letterforms. Another class member was asked to draw as many representations of the letter A in five minutes as possible, again which communicate the chosen adjective, using the previous task to help.

This task was a valuable source of inspiration as it gave me ideas that I hadn't yet considered at the time, such as the use of negative space within and around letterforms to create small symbolic structures, and bending certain strokes and the crossbar in particular letterforms in relation to the idea of flimsiness. The task also allowed me to consider looking more closely at the synonyms of the word 'flimsy' as this word is quite generic and related words would be of more use in determining unique characteristics of letterforms and of the typeface as a whole.

Fig. 1. Drawings from a partner - How do they interpret your word
using only horizontal, vertical and straight lines.

Fig. 2. Drawings from a partner - Variations of the letter A based on
chosen adjective.

OUGD403 - Studio Brief 02 - Interim Crit Feedback and Analysis

One piece of feedback received from this interim crit suggested to not be too obvious in my approach to this project. The idea of using a typeface which is already slightly flimsy is a safe path to take. Instead I should work with a typeface which contrasts to the idea of flimsiness, such as Helvetica or Univers (both strong sans-serif typefaces, whereas Caslon and Clarendon are both serif typefaces), and change the weights, strokes and axis of theses letterforms to create more subtle changes which still work towards making the typeface less stable. I agree that the first two ideas are both very similar and should therefore look at the 'flimsy' characteristics of each typeface and work with these more closely instead.

It was also suggested that I try working more abstract with the letterforms. For instance, use the idea of an unstable structure, look at it's characteristics, basic shapes, etc and see how this could be applied to the letterforms within a typeface. This is a strong idea, however if I were to develop this further I would not abstract the letterforms too much so that they are no longer legible, otherwise this would diminish the purpose of a functional typeface. 

Others suggested that some ideas reminded them of physical objects, such as a child's mobile. For me this means that experimentation with not only sketches, but also three-dimensional design would be a valuable source of inspiration. This would allow me to see first-hand the kinds of effects a piece of paper or certain materials gain when they are folded and manipulated. Ideas from this could then form characteristics in the design of my own bespoke typeface.

OUGD403 - Studio Brief 02 - Initial Ideas

Idea one
Typeface: CLARENDON
As Clarendon has display applications (used in poster designs), this idea manipulates letterforms by folding them in or back on themselves, taking inspiration from the look of a poster when the edges start to peel off a wall or fold in on itself when you try to hold it upright. It would also make the strokes thinner and flimsier in contrast to Clarendon's original thick slab-serifs which give the idea of strength. Removing these slab-serifs at the bottom of each letterform would also make the letterforms top-heavy and unstable, which essentially makes them fold back on themselves.

Idea two
Typeface: CASLON
This typeface uses thin crossbars and strokes on particular letterforms, which is already in keep with the idea of flimsiness, as it could represent a thin material or structure. The sharp slants on some italic uppercase letters give the impression of the letterforms falling over, which could again be heightened through the folding of letterforms. Using uppercase would create more of a contrast between thick and thin strokes, and the idea of unstableness.

Idea three
Typeface: CASLON
Break up the strokes in individual letterforms to create loose connections and structures. For example, snap the thinner strokes away from their serifs and slanting other strokes to give the impression of falling. The use of uppercase would give more straight lines to break in relation to this idea.

Fig. 1. Rough initial ideas sketches.

OUGD403 - Studio Brief 02 - Chosen Adjective

Brief: Based on one of Muller-Brockmann's classic and lead typefaces, create your own bespoke typeface which should effectively communicate your chosen adjective. To repurpose individual letterforms to work together in endless combinations in a harmonious, consistent sequence.

Flimsy

Definition: Insubstantial and easily damaged.

(Synonyms: insubstantial, slight, light, fragile, breakable, frail, shaky, unstable, wobbly, rickety, makeshift, ramshackle, thin, cheap, lightweight, ultra-fine, delicate, feeble, unsatisfactory).

Adjective

1. Without material strength or solidity 

    (a flimsy fabric; a flimsy structure).

2. Weak, inadequate; not effective or convincing 

    (a flimsy excuse).

Noun

1. A document, especially a copy, made on very thin paper.

This adjective was chosen because it would allow me to manipulate the structure of the letterforms, perhaps taking a solid typeface and making it unstable. My aim is to create a typeface which goes against Muller-Brockmann's belief that "what is feeble is never good", which he stated in relation to Neville Brody's Fuse Fonts.

OUGD403 - Muller-Brockmann's Classic Typefaces

Garamond:

Produced by French Renaissance punchcutter, Claude Garamond (1532).

Characterised by large counters in the a and e which have a horizontal crossbar. Long ascenders and descenders. F has a strong hook. Most top serifs are diagonal and lean towards the left.

Caslon:

Designed by William Caslon I (1720 - 1726).

Organic structure to represent handwriting with a pen. Serif font, generally used for extended passages of text. Short ascenders and descenders. W has three terminals and all sides of M are straight. Varied levels of slant in italics, sharp slant on A.

Baskerville:

Designed by English printer and typedesigner, John Baskerville (1757).

Transitional typeface - between modern and old-style. High contrast between thick and thin strokes. Sharp serifs. Generally used in book design. 

Times:

Produced by English typewriter and historian, Stanley Morison (1931).

Commissioned by The Times of London to redesign the newspaper's text typeface. Features sharp serifs and contrast in stroke weights. Short ascenders and descenders.

Bodoni:

Developed by Italian type designer, Giambattista Bodoni (1788).

Thick and thin strokes. Originally characterised by subtly bracketed serifs. Long ascenders and descenders compared to x-height. Narrow M and W, R features a curved leg and Q has a tail that extends vertically. Regarded as a display type.

Clarendon:

Created by Robert Besley (first published in 1845).

Designed for Thorowgood and Co. of London, a letter foundry and named after the Clarendon letterpress. Typically used in display applications, such as posters printed on metal and wood. Characterised by thick, block-like serifs, also known as slab-serifs. 

Berthold:

(Berthold Akzidenz Grotesk) 

Developed by the Berthold typefoundry, established in 1858 by Hermann Berthold. Sans-serif, grotesque originally used for commercial use, such as advertisements, forms and publicity materials. Narrow apertures. Low horizontal stoke on A. 

Helvetica:

Developed by Max Miedinger and Edouard Hoffman (1957).

An attempt to improve the Akzidenz Grotesk typeface. Includes qualities of clarity, precision and objectivity. Rounded sans-serif with large x-height. Oval shaped counters. The a is double-storied and features a tear drop shaped counter. The R stands on a curved leg.

Univers:

Produced by Swiss typedesigner, Adrian Frutiger (1954).

Neo-grotesque, sans-serif typeface, based on the Akzidenz Grotesk typeface. Described by Frutiger himself as "visual sensitivity between thick and thin strokes, avoiding perfect geometry". Used for large bodies of text.

Fig. 1. Helvetica and Garamond.

Fig. 2. Clarendon and Times.

Fig. 3. Baskerville and Berthold (Akzidenz-Grotesk).

Fig. 4. Bodoni and Caslon.

Fig. 5. Univers.